University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2018 Away from the End of Motherhood: Sites of Haunting in the Social Imaginary in Lemonade and The Handmaid's Tale Julia Michele Fleming University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the African American Studies Commons, Comparative Literature Commons, Other American Studies Commons, and the Women's Studies Commons Recommended Citation Fleming, Julia Michele, "Away from the End of Motherhood: Sites of Haunting in the Social Imaginary in Lemonade and The Handmaid's Tale" (2018). Electronic Theses and Dissertations. 1446. https://digitalcommons.du.edu/etd/1446 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. AWAY FROM THE END OF MOTHERHOOD: SITES OF HAUNTING IN THE SOCIAL IMAGINARY IN LEMONADE AND THE HANDMAID’S TALE __________ A Thesis Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Master of Arts __________ by Julia M. Fleming June 2018 Advisor: Dr. Rachel Feder ©Copyright by Julia M. Fleming 2018 All Rights Reserved Author: Julia M. Fleming Title: AWAY FROM THE END OF MOTHERHOOD: SITES OF HAUNTING IN THE SOCIAL IMAGINARY IN LEMONADE AND THE HANDMAID’S TALE Advisor: Dr. Rachel Feder Degree Date: June 2018 Abstract This thesis analyzes the television series adaptation of The Handmaid's Tale, specifically the episode “A Woman’s Place,” and Beyoncé's Lemonade: A Visual Album. I argue that these cultural texts leverage representations of women’s lived experiences to scrutinize contemporary American anxieties about motherhood and reproductive justice. Lemonade, a celebration of Black womanhood, presents a counterpoint to The Handmaid’s Tale’s preoccupation with white motherhood in way that speculates on the utopian potentials of a woman-centered society. Using bell hooks’ film analysis, Avery Gordon’s “haunting,” and Luce Irigaray’s “mimicry,” I examine two interconnected themes: feminist aesthetics and generational haunting. While The Handmaid’s Tale evokes the fear of possible descent into a dystopic society, Lemonade reaches for a feminist futurity. Each text re-inscribes a worldview that tracks a contradiction or reaffirmation of expectations of who is allowed to be a mother in contemporary society within the social imagination of reproductive justice inseparable from our current moment in American culture. ii Acknowledgements I have been so fortunate to work closely with my advisors Dr. Rachel Feder, Dr. Tayana Hardin, and Dr. Erin Willer on this project and throughout my time at DU. I am also indebted to the patience and thoughtfulness of my good friends and scholars Ashlyn Stewart, Sasha Strelitz, Jessica Comola, and my other wonderful colleagues within the English Department and Writing Center who helped me talk through this project and give it shape. Thank you. iii Table of Contents Chapter One: Introduction .................................................................................................. 1 Chapter Two: Aesthetic Accountability ............................................................................ 13 Chapter Three: Reproductive Justice ................................................................................ 21 Chapter Four: Cultural Work and the Social Imaginary ................................................... 30 Chapter Five: Killing the Black Body ............................................................................... 34 Chapter Six: Feminist Futurities ....................................................................................... 48 Chapter Seven: Presence of Absence ................................................................................ 61 Chapter Eight: Mimicry as Haunting ................................................................................ 69 Chapter Nine: Conclusion ................................................................................................. 79 Works Cited ...................................................................................................................... 83 iv Chapter One: Introduction Ursula K. Le Guin writes, “The future, in fiction, is a metaphor,” a combining of something recognizable with something unrecognizable, an abstract comparison of one thing to another thing (xix). The fictional future sends a message. Maybe the world could be beautiful if we only. Maybe the world will end if we don’t just. A fictional future begs the question: could that really happen here? Does that dystopia look like our present? Can that utopia become our home? This thesis analyzes Beyoncé's Lemonade: A Visual Album and the television series adaptation of The Handmaid's Tale. I argue that these visual texts participate in an anxious cultural moment in America by challenging the dystopian tradition that originally made Margaret Atwood’s 1985 novel The Handmaid’s Tale such a chilling vision of the future. By putting these two works together, released only a year apart in 2016 and 2017, I argue that whereas The Handmaid’s Tale series aligns itself with the anxieties of the mainstream pro-choice movement, Lemonade aligns itself with the particular concerns of reproductive justice, which involves not only the ability to choose birth control or abortion (and therefore not reproduce), but also a freedom to choose motherhood with dignity. Because of this alignment, the two texts collide in their worldviews, tracking either a contradiction or reaffirmation of the expectations of who is allowed to be a mother. These expectations reflect our present social imaginary, the ideologies and norms 1 that construct and enable social practices, and appear as worldviews to be criticized within the worlds of the texts. (Taylor 1). Both texts use the strengths of visual media to participate in the cultural space in which they were created. The Handmaid’s Tale and Lemonade are haunted by contemporary American anxieties about motherhood and bodily autonomy, many of which have roots in American racism and the legacy of American slavery. These anxieties have been made all too real in the present political climate as the 2016 presidential election of Donald Trump has caused a resurgence in concerns over women’s rights over their own bodily and reproductive choices, as well as a resurgence in the American white supremacy movement (Elderkin). These two texts in particular approach this hostile political climate in very different manners: Lemonade participates in the creation of positive and celebratory representations of Black womanhood, while The Handmaid’s Tale moves to confront current political tensions head on by depicting the worst possible outcome—a future of what is essentially sex slavery masked as institutionalized compulsory surrogacy—without hardly departing from the horrors in Atwood’s 1985 novel. In Lemonade and The Handmaid’s Tale series, metaphors for the future become less abstract. The hostilities of present politics appear in these contemporary visual texts, acting as both resistance to racist and sexist narratives, but also working within the increasing popularity of “resistance” as a marketing scheme to find an audience in a competitive market. With the parallel rise of feminism in popular media, feminist or “woke” audiences have become a budding but strong demographic and many artists and 2 producers have shifted towards marketing to a more feminist audience due to the increased demand for feminist content.1 It is possible for media to exist in both worlds— to sincerely critique oppressive political regimes while also capitalizing on the popular demand for these kinds of media. In this sense, Lemonade and The Handmaid’s Tale series exist on similar planes. In April of 2016, Beyoncé released Lemonade: A Visual Album on HBO, a subscription-based network. Her second visual album after Beyoncé, which featured a different music video for each track on the album, Lemonade runs like a feature film at one hour and fifteen minutes of cohesive narrative across the twelve songs. More than just a music video, the visual album is the most current stroke of Beyoncé’s increasingly political brand, building on the celebration of Black womanhood that was the first single from the album, “Formation.” Melina Matsoukas, the director of “Formation,” reveals Beyoncé’s inspiration for the visual album in an interview. She says, “[Beyoncé] wanted to show the historical influence of slavery on black love, and what it has done to the black family… And black men and women—how we're almost socialized not to be together” (Matsoukas qtd. in Okeowo). Lemonade was lauded for depicting Black women as they longed to be depicted—celebrating their strengths while also honestly working through the struggles of Black womanhood in America. While Beyoncé as a pop icon has been highly criticized for her “universal” branding (i.e. performing both Blackness and 1 Take a look at Marvel (with Jessica Jones), which has harnessed the marketability of feminism but also translated the ideologies into a meaningful series, whereas musicians like Taylor Swift attempt to play the feminist game with limited success. Even Drake has made attempts with songs like “Make Me Proud” and